DOCSLIB.ORG

The Musical Times and Singing Class Circular, Vol. 24, No. 480 (Feb

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Musical Times and Singing Class Circular, Vol. 24, No. 480 (Feb Review Source: The Musical Times and Singing Class Circular, Vol. 24, No. 480 (Feb. 1, 1883), p. 95 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356382 Accessed: 10-04-2016 11:17 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular This content downloaded from 134.121.40.11 on Sun, 10 Apr 2016 11:17:45 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-FEBRUARY I, 1883. former instance may, however, be easily accounted for by a Merchant of Venice "-is now published, as it was first judicious desire to avoid, in a historical work, the field of sung, for male voices, in the "Orpheus" (new series), polemics into which a reference to Wagner would have in- and also arranged for soprano, alto, tenor, and bass in evitably led an author whose artistic principles are known " Novello's Part-Song Book." In either of these forms it to be distinctly at variance with those promulgated by will be equally acceptable; for, apart from its melodious- the Bayreuth master. Dr. Reissmann's primary object was ness and thorough sympathy with the words, it presents no to describe "the life and the works" of Gluck; and, undue difficulties for an ordinarily well-trained choir. As although more successful in respect to the latter, his book, we hear that Signor Pinsuti and Mr. Tours have presented as a whole, and in its compact form, undoubtedly supplies their contributions to the fund for which the dramatic a want in the existing literature of the subject. The performance was organised, we have a double reason for volume is tastefully printed, and is adorned with a steel hoping that both these part-songs will attain the popularity engraving presenting the strikingly handsome features of which certainly on their own intrinsic merits they de- the great reformer to the best advantage. serve. Christ is risen from the dead. Full Easy Anthem for Easter. Composed by E. A. Sydenham. [Novello, Ewer, and Co.] FOREIGN NOTES. WE have not too many new anthems for Easter of a melo- ACCORDING to an interesting statistical notice published dious and easy nature, so that the above is doubly welcome, in German journals, there have been 103 performances from as it is an attractive and effective composition, presenting August 23 to December 31 last year at the Berlin Opera very few difficulties either for choir or organist. It opens House, which were distributed as follows:-Gluck, " Der with a short introductory phrase, which is immediately betrogene Kadi" (3), "Iphigdnie en Tauride "'(2), "Alceste" followed by a very melodious movement in 6-8 time. An (I), " Armida" (I); Beethoven, " Fidelio " (4) ; Mozart, easy Allegro, to the words " Even so in Christ shall all be " Figaro " (5), " Don Giovanni " (3), "Schauspieldirektor " made alive," brings the anthem to an effective termination. (2)," Zauberflbte " (2), "Titus " (2); Weber, " Freischiitz" No great originality is displayed in this composition, but a (3), " Euryanthe" (3), " Oberon" () ; Meyerbeer, "Afri- tuneful and modest spirit pervades the whole. caine " (2), " Prophet" (2),!" Roberto " (2), " Huguenots" () ; Wagner, " Lohengrin " (5), " Tannhdiuser" (3), " Der Reeves's Musical Directory for 1883, with a Calendar. fliegende Holklinder" (2), "Meistersinger" (2), "Tristan [William Reeves.] und Isolde " (i); Brill, " Das goldene Kreuz " (3); Gold- THIS Directory fully maintains its character; but al- mark, " K6nigin von Saba " (3); Goetz, " Taming of the though the editor says in his preface that he has been Shrew" (4); Nicolai, "Merry Wives" (5); Kreutzer, enabled to use " some of the suggestions" offered for its " Nachtlager von Granada " (3) ; Spontini, " Cortez " (i) ; improvement, we find that the names of those who adver- Lortzing, " Czar und Zimmermann " (2), "Der Wild- tise are still printed in the Trade Directory in larger type schiltz" (i); Perfall, " Raimondin" (4) ; Cherubini, than the rest. As we mentioned this in our notice of the " Wassertriger" (r); Boieldieu, "1Johann von Paris " (i); issue for last year, therefore, we may conclude that this Auber, " La Muette" (i), "Der schwarze Domino " (i); feature is considered worth preserving. Halvy, "Juive" (i) ; Gounod, "Faust " (4) ; Thomas, " Mignon " (2); Bizet, " Carmen " (6); Rossini, " Barbier Six Vocal Sketches. By E. C. Gregory. von Sevilla" (3) ; Verdi, " Aida " (3), " Trovatore " (2). [Novello, Ewer and Co.] A Symphony, the youthful production of Richard THE Sketches are unequal in merit, but the composer Wagner, celebrated the fiftieth anniversary of its existence throughout shows much sympathy with the words she has in December last at Venice, where the master is spending chosen. The general fault is over-elaboration in the har- the winter months, and where it was performed before a monies; and an obvious desire to gain contrast by change private circle as a surprise to his wife, Frau Cosima. In of key only seems often to mar the sequence of thought a letter addressed to the editor of the Musikalisches which might arise with less effort. This is especially Wochenblatt (a translation of which will be found in our observable in the song " Growing on a Grave," and also contemporary The Mfusical Review) the composer gives an in " Changes," where the restlessness of the tonality, interesting account of the work and its history, much though partially justified by the text, makes the piece curiosity being excited in the musical world to become appear laboured. No. I, "Rondel "; No. 2, " The Hollow acquainted with this early production of the Bayreuth Oak "-which contains an effective modulation from G reformer. minor into the tonic major-and No. 4, " A sunny shaft did Dr. Hans von Billow has, it is stated, resumed his I behold," may be commended as good vocal pieces; and activity as conductor of the Meiningen orchestra, having musician-like feeling is so decisively evidenced, even in almost completely recovered from an illness, the serious those songs to which we have taken exception, that we nature of which has been much exaggerated. shall be glad to welcome Miss Gregory on a future A new opera, " Gudrun," by Herr Klughardt, met with occasion. an enthusiastic reception last month at Dessau, where it was produced under the direction of the composer. The Three Rhapsodies for the Pianoforte. By Walter Wesche. [S. Sprague and Co.] work is likewise in course of preparation at the Berlin Opera House. Herr Klughardt, who is a disciple of the IT would be indeed difficult to award especial praise to "New-German " school, has already become favourably any one of these three Rhapsodies, for they are all excel- known in Germany by his opera " Iwein " and other com- lent both in subject and treatment. No. I, " Capricieuse," positions, chiefly for orchestra. is a charmingly fresh movement, the vague commencement, The A llgemeine Musikalische Zeitung, the oldest German determined on its repetition by the addition of the C sharp to music journal, founded in 1798 by the firm of Breitkopf the chord of the seventh, being a point worthy of much com- und Hrtel, of Leipzig, ceased to exist with the end of mendation. No. 2, " Romantique," is melodious through- last year. The journal had been edited for some years past out, and touched with the refinement of an artist who has by Herr Chrysander, the well known Handel biographer. long dared to think out of the conventional groove. No. 3, Herr Edward Lassen, the excellent conductor of the " Hroique," so thoroughly characteristic and spirited as Grand Ducal Orchestra, at Weimar, has just celebrated to ensure general acceptance, forms a worthy climax to a the twenty-fifth anniversary of his activity at that institu- group of pieces which require but to be known to be appre- tion. Amongst other distinctions conferred upon him on ciated, both by performers and teachers. the occasion, he has been presented with the Doctor's diploma, honoris causa, of the University of Jena. Hymn to Cynthia. A Four-part Song. Poetry by Ben We read in the Allgemeine Deutsche Musik Zeitung: Jonson. Composed by Berthold Tours. " One of the curiosities of musical Berlin is the ' Music- [Novello, Ewer and Co.] Bourse.' Any one requiring the services of musicians, THIS composition - especially written, like Signor from an entire orchestra down to a pianoforte player, will Pinsuti's part-song " Tell me, where is Fancy bred ? " (re- have his written or personal application immediately cently noticed), for an amateur performance of "The attended to here. The Bourse is held daily, between This content downloaded from 134.121.40.11 on Sun, 10 Apr 2016 11:17:45 UTC All use subject to http://about.jstor.org/terms.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    THE LYRIC .... BALTIMORE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor JJrogramm? of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 18, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil OberhofTer Wilhelm Gericke Emil Paur Felix Weingartner Represented in Baltimore by THE KRAN2 SMITH PIANO GO. 100 North Charles Street Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mann, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. » Eichler, J. Tischer-Zeitz, H Kuntz, A, Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S.
    [Show full text]
  • Revising Perspectives on Nineteenth-Century Jewish Composers: a Case Study Comparison of Ignaz Brüll and Salomon Jadassohn
    Revising Perspectives on Nineteenth-Century Jewish Composers: A Case Study Comparison of Ignaz Brüll and Salomon Jadassohn by Adana Whitter B.A., Universit y of British Columbia, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2013 © Adana Whitter, 2013 i Abstract The influence of anti-Semitism on the lives and careers of Jewish musicians within the social climate of nineteenth-century Europe is well known. Pamela Potter, Sander Gilman, Philip Bohlman, and K. M. Knittel have thoroughly explored the anti-Semitic treatment of Jewish composers during this period. Definitions of the experience of Jewish composers have been crystallized on the basis of prominent cases, such as Gustav Mahler or Alexander Zemlinsky, who were actively discussed in the press or other publications. The goal of this study is to examine whether the general view of anti-Semitism, as shown in those studies, applies to other Jewish composers. To this aim, this thesis will introduce two lesser known Jewish composers, Ignaz Brüll (1846-1907) and Salomon Jadassohn (1831-1902) as case studies, consider closely their particular situations at the end of the nineteenth century, and assess their positions vis-à-vis the general views of how musician Jews were treated in these societies. Chapter One outlines the historical and political context in Germany and Austria, where these two composers resided, in order to understand where they fit into that context. Chapter Two focuses on Jewishness in music, the difficulties involved in defining Jewish music, along with the contributions of other Jewish composers to the wider European culture, and makes clear the important part anti- Semitism played in the process of identification during this period.
    [Show full text]
  • VOX Catalogue Numbers — 3000 to 3999: Male Solo Voices Discography Compiled by Christian Zwarg for GHT Wien Diese Diskographie Dient Ausschließlich Forschungszwecken
    VOX Catalogue Numbers — 3000 to 3999: Male Solo Voices Discography compiled by Christian Zwarg for GHT Wien Diese Diskographie dient ausschließlich Forschungszwecken. Die beschriebenen Tonträger stehen nicht zum Verkauf und sind auch nicht im Archiv des Autors oder der GHT vorhanden. Anfragen nach Kopien der hier verzeichneten Tonaufnahmen können daher nicht bearbeitet werden. Sollten Sie Fehler oder Auslassungen in diesem Dokument bemerken, freuen wir uns über eine Mitteilung, um zukünftige Updates noch weiter verbessern und ergänzen zu können. Bitte senden Sie Ihre Ergänzungs- und Korrekturvorschläge an: [email protected] This discography is provided for research purposes only. The media described herein are neither for sale, nor are they part of the author's or the GHT's archive. Requests for copies of the listed recordings therefore cannot be fulfilled. Should you notice errors or omissions in this document, we appreciate your notifying us, to help us improve future updates. Please send your addenda and corrigenda to: [email protected] Vox 3000 D25 master 26 B 1921.10.01→11 GER: Berlin, Vox-Haus, W.9, Potsdamer Str. 4 Solang' a junger Wein is — Wiener Walzerlied (M + W: Ralph Benatzky) …?… (MD). — (orchestra). Erik Wirl (tenor). master 27 B 1921.10.01→11 GER: Berlin, Vox-Haus, W.9, Potsdamer Str. 4 Im Prater blüh'n wieder die Bäume — Wiener Lied (Robert Stolz, op.247 / Kurt Robitschek) …?… (MD). — (orchestra). Erik Wirl (tenor). Vox 3001 D25 master 24 B 1921.10.01→11 GER: Berlin, Vox-Haus, W.9, Potsdamer Str. 4 DER LETZTE ROCK (Hugo Schenk / Oskar Hofmann) Die Luft vom Wienerwald — Lied [Walzer] …?… (MD).
    [Show full text]
  • ACTIEN-VOLKSTHEATER Repertoire Der Spielzeiten 1865
    ACTIEN-VOLKSTHEATER Repertoire der Spielzeiten 1865 –1872/73 KÖNIGLICHES THEATER AM GÄRTNERPLATZ Repertoire der Spielzeiten 1873/74 – 1917/18 GÄRTNERPLATZTHEATER Repertoire der Spielzeiten 1918/19 – 1930/31 Eine chronologische Dokumentation Redaktion: Dr. Thomas Siedhoff unter Verwendung der von Elke Schöninger zusammengestellten Daten Zur Benutzung Der Katalog des Gesamtrepertoires folgt den Ankündigungen auf den Theaterzetteln, den Programmheften mit ihren Besetzungszetteln sowie der Tagespresse. Diese Daten enthalten nicht selten Fehler und/oder sind unvollständig. Den die wissenschftliche Brücke zwischen täglichem Theaterbetrieb und dokumentarischem Ehrgeiz und forschungsverbundener Annäherung an den Spielplan und dessen Profil bauenden Dramaturgen gab es frühestens zu Beginn des 20. Jahrhunderts. Daher wird/wurde der Gesamtkatalog möglichst eingehend bibliographiert und ergänzt. Diese Angaben stehen in [eckigen Klammern]. Die in KAPITÄLCHEN gesetzten TITEL fogen der Schreibweise der Ankündigung, die Schreibweise der Gattungbezeichnungen wurden behutsam den heutigen Usancen angeglichen. Die Datierungen der Enstehung möglichst aller aufgeführten Werke sollen über die jeweilige Aktualität die des Spielplans informieren. Diese Daten folgen nach Möglichkeit dem Jahr der Uraufführung, ansonsten jenem der ersten Drucklegung – entweder als Bühnenmanuskript oder als öffentliche Buchausgabe. Die eingerückten Datensätze und rot markierten bezeichnen Gastspiele ohne Mitwirkung des Gärtnerplatztheater-Ensembles; nicht eingerückte Datensätze bezeichnen
    [Show full text]
  • THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader
    THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] TABANELLI, Pedro 1885, Torino – 1956, 3/2, Cordoba, Artgentina. Tenor. Debut 1914 Buenos Aires. Fonografia Nazionale, Milano 1042 Madama Butterfly (Puccini): Bimba dagli occhi pieni (w. Agostinelli) D1042 1043 Madama Butterfly (Puccini): Vogliatemi bene (w. Agostinelli) D1043 1044 Madama Butterfly (Puccini): Via dall'anima in pena (w. Agostinelli) D1044 4611 Faust (Gounod): Tardi si fa (w. Agostinelli) C4611 4612 Faust (Gounod): Sempre amar (w. Agostinelli) C4612 (Agostinelli was Tabanelli's wife.) TABUYO, Ignazio 1863, Renteria - 1947, San Sebastian. Baritone. Debut 1888 Brescia. Societa Fonografica Española, date? Tannhäuser (Wagner): Aria della stella Falstaff (Verdi): Quand'ero paggio Africaine (Meyerbeer): Ballata Africaine (Meyerbeer): Aria, act 2 Hamlet (Thomas): Brindisi Roi de Lahore (Massenet): O casto fior Favorita (Donizetti): Aria Puritani (Bellini): Aria Apri (Tosti) O meus amores Vous êtes si jolie Guernikako Arbola (Iparraguirre) Charmangarria Nere Andrea Nere Amao Balegui Egun batiam loyolan Ume eder bat Adios (Iparraguirre) Gramophone, Madrid 1911-11-16 1537ah Dulce sôno, Canción gallega (Tabuyo) 3-62011 1538ah D'aqui vexo
    [Show full text]
  • A Comprehensive Library of Information for Music Lovers and Musicians
    CflnrttfU ItitetBttg SItbrarg BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF 1S91: L.sM6.^&: sJH/lZ- 9306 Cornell ... ^__ University Library ML 100.M39 V.3 The art of music :a comprehensive iibrar 3 1924 022 385 284 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385284 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia University Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modern Music Society of New York In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OP MUSIC THE ART OF MUSIC: VOLUME THREE Modern Music Being Book Three of A Narrative History of Music Department Editors: EDWARD BURLINGAME HILL AND ERNEST NEWMAN Music Critic. 'Diuly Post,' Birmingham, England Author of 'Gluck and the Opera,' *Hugo Wolf,' 'Richard Strauss/ etc. Introduction by EDWARD BURLINGAME HILL Instructor in Musical Histoiy, Harvard University Formerly Music Critic, 'Boston Evening Transcript' Editor. 'Musical World,' etc. NEW YORK THE NATIONAL SOCIETY OF MUSIC Copyright, 1916, by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Rights Reserved) MODERN MUSIC INTRODUCTION The direct sources of modem music are to be found in the works of Berlioz, Chopin, Liszt, and Wagner. This assertion savors of truism, but, since the achieve- ment of these four masters in the enlargement of har- monic idiom, in diversity of formal evolution, and in intrinsic novelty and profundity of musical sentiment and emotion remains so unalterably the point of de- parture in modern music, reiteration is unavoidable and essential.
    [Show full text]
  • The Reception of Richard Strauss's Salome, Elektra, and Der
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Strauss and the City: The Reception of Richard Strauss’s Salome, Elektra, and Der Rosenkavalier within New York City, 1907–1934 Christopher G. Ogburn The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2810 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] STRAUSS AND THE CITY: THE RECEPTION OF RICHARD STRAUSS’S SALOME, ELEKTRA, AND DER ROSENKAVALIER WITHIN NEW YORK CITY, 1907–1934 by CHRISTOPHER G. OGBURN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 ii © 2018 Christopher G. Ogburn All Rights Reserved iii Strauss and the City: The Reception of Richard Strauss’s Salome, Elektra, and Der Rosenkavalier within New York City, 1907–1934 by Christopher G. Ogburn This manuscript has been read and accepted by the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ____________________________________ Date Professor Scott Burnham Chair of Examining Committee __________________ ____________________________________ Date Professor Norman Carey Executive Officer Supervisory Committee: Professor Chadwick Jenkins, Adviser Professor Janette Tilley, First Reader Professor John Graziano THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Strauss and the City: The Reception of Richard Strauss’s Salome, Elektra, and Der Rosenkavalier within New York City, 1907–1934 by Christopher G.
    [Show full text]
  • 12" Ejslp Issues
    VOCAL 78 rpm Discs Mme. JOSÉ GRAYVILL(E) [s]. Who was this mysterious singer? The Columbia Catalogues of the period (1906) mention that she was a friend of Massenet (as were a number of female singers). Was José (sometimes Josè) Graville (or Grayville) her husband’s name (as with Mme. Charles Cahier) or a nom-du-disque? There seems to be no trace of anyone with this name in music journals of the period, yet this is obviously a more than competent singer with particularly able coloratura skills. 1138. 12” Vinyl Columbia 30067 [M55-1]. MIREILLE: O légère hirondelle (Gounod). Just about 1-2. $40.00. HARRY PLUNKET GREENE [b] 4126. 10” Red vinyl Victor (HMV) 3-2336 [2121e]. LITTLE MARY CASSIDY (arr. Somer- vell). Piano acc. This 1905 recording, although here pressed by Victor, never appeared in a Victor catalogue. Just about 1-2. $25.00. FERNANDO GUARNERI [b]. Napoli, 1888-New York City, 1940. Guarneri studied in Naples and appeared in opera in Europe, coming to the U.S. around 1915. He sang here with the touring San Carlo Opera and other companies and was popular in leading U.S. music festivals. His career after 1915 appears to have been exclusively in America, where he also became a citizen. He made a few records for several companies, including Edison, Victor, vertical Aeolian-Vocalian and Columbia. The reviewer of a 1920 performance of Cavalleria Rusticana gave Guarneri the following praise: “May Barron sang the part of Lola with a pretty voice, but we are tempted to wonder why she preferred Turiddu, sung by Eugenio Cibelli, to the virile and excellent Alfio of Fernando Guarneri, who sang with fervor and gave a good portrayal of the part.
    [Show full text]
  • Progmmm? of % Fourteenth Rehearsal and Concert
    SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES -, , , j Ticket Office, 1492 ) „ Telephones ^^""^„ , ^^^ j Administration Offices, 3200 } THIRTIETH SEASON, 1910 AND 1911 MAX FIEDLER, Conductor progmmm? of % Fourteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 27 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 28 AT 8.00 O'CLOCK COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1013 WM. L. WHITNEY International School for Vocalists BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEQIE HALL 246 HUNTINGTON AVE. CORNER OF 57th AND 7th AVE. PORTLAND HARTFORD Y. M. C. A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET T)14 Boston Symphony Orchestra PERSONNEL Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor Violins. Witek, A., Roth, 0. Hofifmann, J. Concer^masUr. Kuntz, D. KrafEt, F. W. Noack, S. Perfection m Piano Making 5 feet long THE Quarter Grand Style V, m figured Maliogany, price ^650 It IS Dut five feet long and in Tonal Proportions a Masterpiece or piano Duildmg. It is CniCKering GT* Sons most recent triumph, tKe exponent of EIGHTY-SEVEN YEARS experience in artistic piano building, and tne neir to all tne qualities that tne name of its makers l-i implies. CHICKERING ^ SONS Established 1823 791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON " •nCRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN Jourt^wtlf S^Ii^araal anJn Olnnr^rt FRIDAY AFTERNOON, JANUARY 27, at 2.30 o»clock SATURDAY EVENING, JANUARY 28, at 8 o'clock PROGRAMME ' Gernsheim . "To a Drama": Tone-Poem, Op.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 27,1907
    CARNEGIE HALL - - NEW YORK Twenty-second season in New York IfriBfam ^ptjrfjfltuj flDrrffoaira DR. KARL MUCK, Conductor Programme at tty FOURTH CONCERT THURSDAY EVENING, FEBRUARY 20 AT 8.15 PRECISELY ANP THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY 22 AT 230 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily SafonofT Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 W. 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. * Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A.
    [Show full text]
  • Bühnenkatalog 1998 THEATRE CATALOGUE CATALOGUE DES ŒUVRES SCENIQUES
    BOTE & BOCK Bühnenkatalog 1998 THEATRE CATALOGUE CATALOGUE DES ŒUVRES SCENIQUES Opern - Operetten - Musicals - Ballette Operas - Operettas - Musicals - Ballets Operas - Operettes - Comédies musicales - Ballets Herausgeber: Boosey & Hawkes . Bote & Bock GmbH & Co Musik- und Bühnenverlag Lützowufer 26 D-10787 Berlin Geschäftsführer: Winfried Jacobs Telefon: +49-30-2500 1300 Leihabteilung: +49-30-2500 1362 Promotion: +49-30-2500 1321 Honorare und Lizenzen: +30-2500 1330 Telefax: +49-30-2500 1399 Telefax Leihabteilung: +49-30-2500 1369 Stand: Februar 1998 Redaktion: Frank Harders-Wuthenow, Petra Sonne Umschlaggestaltung: Sebastian Linnerz Druck: H & P Druck, Berlin © Boosey & Hawkes . Bote & Bock GmbH & Co 2 INHALT - TABLE OF CONTENTS - TABLE DES MATIERES Vorwort 4 Erläuterungen 6 Opern, Kammer- und Studioopern, Kinderopern 11 Operetten 91 Musicals 119 Ballette 125 Register: 139 Opern (abendfüllend) 139 Opern (nicht abendfüllend), Kammer- und Studioopern 140 Kinderopern 140 Operetten (abendfüllend, nicht abendfüllend) 140 Musicals (abendfüllend, nicht abendfüllend) 141 Ballette 141 Verlagsvertretungen 142 Abkürzungen 143 Bildnachweise 144 Foreword 4 Explanatory notes 6 Operas, Chamber Operas, Children's Operas 11 Operettas 91 Musicals 119 Ballets 125 Systematic Index: 139 Operas (full length) 139 Operas (One Act, 60 minutes or under), Chamber Operas 140 Children´s Operas 140 Operettas (full length; One-Act, 60 minutes or under) 140 Musicals 141 Ballets 141 Representatives 142 Abbreviations 143 Fotos 144 Préface 5 Explications 7 Opéras, Opéras
    [Show full text]
  • 7 X 11 Long.P65
    Cambridge University Press 978-0-521-89930-7 - The Cambridge Companion to Richard Strauss Edited by Charles Youmans Excerpt More information Part I Background © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89930-7 - The Cambridge Companion to Richard Strauss Edited by Charles Youmans Excerpt More information 1 The musical world of Strauss’s youth James Deaville Born in Munich on June 11, 1864, Richard Strauss entered the world at a crucial time of change for the political and cultural environment in which he would develop as person and musician: three months earlier, Ludwig II had acceded to power over the Kingdom of Bavaria, while almost six weeks earlier, Richard Wagner had first arrived in Munich under the new king’s aegis. That these related events did not have an immedi- ate impact on Strauss in his earliest years does not diminish their ultim- ate real and symbolic significance for his life and career: he emerged as musician within a city where the revolution in music was a matter of public debate, especially to the extent that its progenitor Wagner dir- ectly influenced the monarch and indirectly had an impact on affairs of state. Character of the city However, of all German-speaking major cities, Munich may have been the least suited for artistic upheaval, given the nature of its institutions and the character of its citizens. In his study Pleasure Wars, Peter Gay paints a picture of a Munich that was hopelessly polarized, between the cultural offerings sponsored by the ruling Wittelsbachs and the middle class that preferred popular types of entertainment.1 Notably absent during the reigns of Ludwig I, Maximilian II, and Ludwig II was a significant bour- geois involvement in the higher forms of art, which Gay attributes in part to what he calls the “habitual passivity” of Munich’s Bürger,2 formed by a nexus of the monarch’s paternalist attitude towards his subjects and the residents’ appetite for amusement.
    [Show full text]